The purpose of this study is to apply the traditional Chinese fretwork on the ‘Faux Chenille’ textile work method in a way of enhancing the decorative features of patterns and developing the fashion design. As for the method, it works on the historic background and advancement of the fretwork and it refers to the bibliographies pertinent to the traditional Chinese geometric pattern. The result are as follows. First, pure cotton and 100% rayon are mixed to make it feasible to produce the texture for the material to be tender and enhanced, and in the process of washing and drying the Faux Chenille textile. The Faux Chenille textile is an important material that is required to select materials with great absorption capability as the most effective material to re-visualize the lines and patterns by sustaining the diagonal lines. Second, the fretwork is designed to process the basic formation for 90° angle with the sense of unlimited extensive line and changes with straight line. It has been confirmed that, if the angle that controls the Faux Chenille textile and the tailoring interval are well aligned, the expression of traditional geometric pattern would be effective and it may be expressed in contemporary style. Third, through the fashion design application by utilizing the Faux Chenille textile of the fretwork, it is confirmed that the contemporary application of the traditional culture could be expressed uniquely and creatively while it is affirmed that the western technique and Asian culture can be blended in harmony.

Simulacre means a copy of the original, an ostensible representation of someone or something. This study closely looks at the 2017 <VOGUE like a painting exhibition> hosted by the fashion magazine Vogue. The purpose of this study is to use both theoretical and empirical analysis to analyze the simulacre developed in fashion photographs inspired by famous paintings in the exhibition booklet. The booklet is divided into four sections: portrait, rococo, landscape painting, from avant-garde to pop art. It also contains 55 pieces comparing the original masterpieces to the works of 26 photographers inspired by them. The fashion photographs were analyzed using Jean Baudrillard’s four stages of simulacre transformation: represent, denature, dissimulate, and replace image change theory. The degree of simulacre expression was indicated three times on a four-point Likert scale by five fashion majors, and the results were integrated and analyzed. As a result, in fashion photography, simulacre— due to the development of photography technology and the photographer’s artistry— appeared in various ways; image denature was most preferred, followed by dissimulate, represent, and replace. This study shows that image analysis of fashion photographs and applying the perspective of simulacre when creating artworks can be a way to obtain rich qualitative data in the future.

The environment has increasingly attracted attention and fashion brands need to use new growth models by developing eco-friendly products, along with the drastic climate change. This study drew design guidelines from the factors of clothing disposal and reuse to propose ways to extend the longevity of clothing. It sets the design goals for the longevity extension of clothing as flexibility, originality, durability, and adjustability and drew a specific design guideline. The design methods used to achieve such goals are as follows. First, the design that is flexible in terms of physical changes needs to increase its activity and to be changeable, by applying pleats, rubber bands and elastic materials to the parts with many physical changes and movements. Second, it is necessary to reinforce the brand identity, create design that is flexible in terms of fashion and design very rare and attractive products, for the goal of original design beyond fashion. Third, it is necessary to increase the quality of clothing and improve the durability which can be decreased by washing and wearing. Fourth, it is necessary to create the design that can produce various styles, preserve the state of clothing and maintain its hygienic conditions by using removable detailed designs, shape-transformation designs and the designs which can be adjusted to climate changes and states, for the goal of adjustable design with better functionality. The findings provide ideas for fashion experts to pay more attention to the extending the longevity of clothing products and to develop eco-friendly designs and strategies.

The purpose of this study was to propose the direction of veganism-based fashion design in environmental and animal protection through the theoretical consideration of vegan fashion and the analysis of the practical design characteristics of veganism in Stella McCartney’s fashion. The research was conducted through literature research and case studies. After investigating the concept and characteristics of vegan fashion, focusing on previous studies and various fashion-related Internet data, Stella McCartney’s fashion was examined with particular attention on vegan characteristics. The results of the study are as follows: First, imitative nature pursues animal and environmental protection, but the motif or appearance is a characteristic of pursuing a multi-purpose design that imitates animals and nature. Second, expression of value is based on slow fashion, simplicity, and sustainable minimal design. It is expressed indirectly by pursuing permanence, simplicity, and long-wearable design, or directly expressing vegan values through phrases expressed in performances or costumes in the collection. Third, alternative eco-friendliness is characterized by using cruelties-free materials such as faux fur, recycling materials, new bio-materials, and regenerated materials. These vegan characteristics are comprehensively and organically expressed in the works of the collection, and through this, sustainable and eco-friendly vegan fashion is pursued. It is anticipated that by deriving the vegan fashion characteristics of Stella McCartney, who represents vegan fashion, it will be possible to provide the basis for practical direction and design methods for fashion brands aiming for vegan fashion styles.

Clothing, as a signsystem, implies many different meanings according to different circumstances. Korean fashion designers’ designs also imply various meanings. Therefore, the purpose of this study is the exploration of Korean fashion designers’ design characteristics through Greimas’ Semiotic Square. As sublimity is the most representative characteristic of modern fashion design, this study discusses the in-depth aesthetic meaning innated in Korean fashion design through the semiotic square proposed by Greimas. To fulfill this goal, Korean fashion designers were sought after on the internet; consequently, four Korean designers became subjects for the analysis. Their collections were analyzed according to predefined criteria adopted and modified from previous studies. Sublimity characteristics were applied to Greimas’ and Floch’s semiotic squares for further interpretation. Results of the study indicate that sublimity, which is typically found in Korean fashion designs, varies depending on different points of view. In terms of culture, this study discovered a relationship of contrariety between sublimity and beauty. This finding opposes the theory of Greimas’ semiotic square, in which sublimity stands as a contradictory of the technician. According to the culture industry theory, suggested by Held, the technician is an implication of sublimity. Through a technician, sublimity may pose as a complementarity or implication of beauty. Finally, sublimity might substitute beauty as well; furthermore, it constitutes practical valorization in the semiotic square of Floch. Moreover, the artist present as a ludic valorization stands as a contradictory, while art, serving as a utopian valorization, enacts as a contrary.

In this study, we aimed to apply 3D digital printing to basic clothing production and to propose futuristic fashion design and production methods that correspond to contemporary trends. Literature on future trends, dynamism, mechanical aesthetics, and experimentalism were used to define the characteristics of “futurism.” Based on theoretical considerations about futurism, we created fashion designs using 3D digital printing methods. These designs were produced using the aesthetic characteristics of futurism; the 3D digital clothing program; and application of digital printing technologies to futuristic silhouettes, colors, and materials. The results were as follows: First, with the application of futurism as a fashion motif, we pursued collaboration between artistic work and fashion, and we then explored the possibility of creative expression. Second, harmony between achromatic and chromatic colors revealed even better dynamism and activeness, and the potential to express dynamism was observed. Third, with the development of fashion design processes based on 3D digital printing methodologies, it was found to be possible to eliminate the limitations of time and space, solve problems related to limited budget or communication, and positively influence the fashion industry by enhancing convenience and diversity. Fourth, with the development of fashion design that utilizes digital printing, it was found that problems related to time, space, or limited budget were able to be solved, as compared to the use of traditional printing and image reproduction.

The purpose of this study is to suggest effective online pedagogical strategies for a fashion design CAD course to enhance student learning and satisfaction. The study investigated student experience of online learning and compared online learning with a face-to-face learning experience. Student concentration, participation, perceptions of effectiveness of teaching, utilization of learning materials, and satisfaction were analyzed using a 5-point Likert scale. Advantages and disadvantages of online learning as well as advantages of face-to-face learning were also analyzed both quantitatively and qualitatively. Student concentration, participation, and perception of effectiveness of teaching were greater for face-to-face learning with significantly higher concentration on individual practice. Students utilized video recording of synchronous online lectures more actively than PDF lecture notes. The advantages of face-to-face learning were plentiful communication and feedback and easy questioning process as well as high levels of understanding and concentration. Meanwhile, major disadvantages of online learning were the speed of the lecture, lower levels of understanding and concentration, limited peer interaction, and technical problems. Major advantages of online learning were flexibility and convenience, repetitive learning through videos, and instant communication and feedback. Students preferred a blended learning approach for the fashion design CAD course. For effective online learning, it is suggested that instructors frequently question and check student practice through screen share in a private online meeting room and engage activities that are demanding of student interaction. The video recording of synchronous online lectures is also suggested as a supplemental learning material for repetitive learning.

Global fashion houses have recently incorporated traditional Korean motifs within their inspiration. This trend is an opportunity to showcase the colors of traditional Korean culture by investing in the new design content. Products specifically based on traditional Korean culture are lacking in brand awareness despite the success of Korean content. Accordingly, this study designs cultural products based on Korean folk painting that captures Korean people’s satirical sense of humor. Korean folk painting theories are analyzed, from which different types of folk paintings are classified based on research of bibliographies and online documents. Following classification, the results are dataized as different types of folk paintings and their meanings. Furthermore, images of folk paintings are categorized and scanned digitally. The digitized images of the folk paintings are processed through Adobe Photoshop CS for overall layout and Adobe Illustrator CS for detailed designs. Traditional categories of Korean folk paintings are used, including flowers and birds, letters, and study stationery. Using the main elements of the flower and birds category, designs with cultural products such as images of flowers, birds, animals, and fish are produced. The final designs are used to create fashion items that can easily be used for embellishment or self-presentation: a scarf and a necktie. The scarf and the necktie are not only merchandise; they also symbolize the story, humor, and hope that Korean folk paintings once symbolized.

The purpose of this study is to reveal and compare the differences in the types and characteristics of purchase channel journeys of MZ generation consumers. In this study a survey was conducted on the purchase channel journey of 20 women in the MZ generation using the ethnographic method of in-depth interviews and observations. As a result, three purchase channel journeys were identified: mobile, multi-channel, and offline. These were variously subdivided according to the characteristics of the MZ generations. Gen Z’s journey was categorized into types: fashion platform app, Youtube, multi-channel supplement, multi-channel non-planned store visit, offline loyalty store, and impulsive offline store. Gen M’s journey was categorized as: an online community bond, portal site, online loyalty store, multi-channel brand involvement, multi-channel efficiency, a multi-channel conversion, offline efficiency and offline task. The difference in mobile journey between generations was found in the time and length of the purchase. Gen M recognized both online and offline search processes to be tiring, while Gen Z enjoyed the search process using the online path. In the offline journey Gen Z began with their own intention to purchase, while Gen M sometimes recognized that purchasing fashion products necessary for work was a cumbersome task.

본 연구에서는 온라인 패션시장에서 소호 패션쇼핑몰의 성공적 창업의 성장 과정을 알아보기 위해 현재 성공적으 로 운영되고 있는 4개 소호 패션쇼핑몰을 대상으로 기업가 과정을 창업기회포착, 사업모델, 위기관리 및 사업성과 등 3개 단계로 구분하여 분석하였다. 사례연구의 결과는 다음과 같다. S사는 짧은 경력의 창업자가 패션감각과 기업 가정신으로 전자상거래를 창업한, 가격경쟁력과 디자인력, 다양한 상품구색을 갖춘 캐주얼 쇼핑몰로 데이터 관리/분 석, 유통채널 다각화를 통해 성장한 사례이다. B사는 짧은 경력의 창업자가 SNS 네트워크 역량과 기업가정신으로제조업/전자상거래를 창업한, 아이템 경쟁력과 스타트업 특성을 갖춘 컨템포러리 쇼핑몰로 브랜드 정체성 확립, 시장 확장을 통해 성장한 사례이다. M사와 C사는 보다 긴 경력의 창업자가 브랜드 인지도가 있는 소호 패션쇼핑몰 사례 이다. M사는 풍부한 경력과 디자인 정신의 창업자가 감성적/감각적 패션디자이너 브랜드를 창업하여 기업 지평을 넓히는 다양한 활동을 통해 성장하였고, C사는 디자인 역량과 기업가정신의 창업자가 감성 표현에 집중한 럭셔리 패션브랜드를 창업하여 적극적인 고객관리를 통한 브랜드인지도 및 매출 확보 등을 통해 성장한 사례이다. 본 연구 결과는 소호쇼핑몰 예비창업자나 창업과정의 교육 및 연구에서 기초자료로 활용될 수 있다.

We conducted this study to determine the TikTok usage status of Chinese consumers, and the effect of fashion advertisement type preference and TikTok characteristics on fashion product purchase intentions. For this study, we conducted a literature review and survey method. The following conclusions were drawn by collecting data online and performing statistical analysis. Firstly, the period of use was 2–4 years, and 95.1% of people used it for 2–3 hours a day, and 95.1% of the people had a purchasing experience on TikTok. Secondly, the most people were interested in self creating and editing videos in TikTok. With regards to TikTok content, groups aged 30 are significantly more interested in fashion coordination suggestions and influencer’ recommendations than groups aged 20. Thirdly, this study found that the characteristics of TikTok fashion advertisements significantly influenced purchase intention. Among the characteristics of fashion advertisements, this study conclude that the “fashion entertainment” characteristic factor that fashion advertisements are fun and entertaining was the most influential variable on purchase intention, followed by useful information, reliability, and interactivity related to fashion. Fourthly, the types of preferred TikTok fashion advertising had a statistically significant effect on product purchase intention. The influential types of preferred advertising are top view, live advertisement, hashtag challenge, in-feed ads, and sticker ads.

The purpose of this study is to understand the concept of zero-waste design and to apply Sophia Vyzoviti’s folding techniques to develop a zero-waste fashion design method that contributes to sustainable fashion design. In this study, we explore the method and characteristics of zero-waste fashion design based on the concept of folding described in Sophia Vyzoviti’s book on folding techniques. Using the autonomy of Sophia Vyzoviti’s folding technique, four changeable folding fashion designs were developed and produced, demonstrating zero-waste fashion design. The results were as follows. First, the development of fashion designs using Sophia Vyzoviti’s folding techniques enabled the development and production of free and creative zero-waste fashion designs that were three-dimensional, continuous, fluid, and full of potential. Second, the production of zero-waste patterns was further developed into a transformable fashion design that can be used with geometric patterns. These folding techniques produced a fashion design method that could transform one piece of clothing, demonstration the potential for maintenance of creativity using a zero-waste design based on these folding techniques. Third, the double-faced fabric, Neoprene, was chosen as an appropriate material as it emphasizes the depth of folding with application of two colors and its cotton/polyester blend that is suitable for folding.

The aim of this study was to develop Jiangxi Nuo masks using 3D digital fashion design technology and suggest various ways to utilize traditional culture based on the characteristics of Nuo masks, a traditional Chinese artifact of intangible cultural significance. The researchers conducted a literature review to gather information about Nuo culture and masks that could represent Jiangxi. Features of the masks were analyzed and classified. The result are as follows. First, the symbolic characteristics of Jiangxi’s Nuo masks can be divided into those based on their origin and history, the user’s social status, and the notions of primitive beliefs of the chosen people, such as naturism and totemism. Second, Nuo masks’ splendid decorations convey meanings such as luck, the bixie, longevity, wealth, and peace in the family. Third, playfulness in mask-making is about dismantling the original form of the mask, re-creating it through application. Fourth, the masks express primitiveness mostly by conserving the wood’s original color or material. The initial masks carved to represent images of figures aptly deliver the primitive forms and images of Nuo culture. In this study, Nuo masks were developed and produced using the 3D digital technology CLO 3D by adopting the expressive characteristics and applying design methods such as asymmetricity, exaggeration, and modification. The results of this study demonstrate the possibility of creating diverse as well as economical designs through the reduction of production.

The purpose of this study is to investigate historical and geographical environments in the development of the Naxi costumes of Chinese ethnic minorities and their characteristics—including religious cultures and totem worship—and to suggest the direction of fashion design toward the modernization of traditional costumes. The research methodology involved the collection of materials and investigatation into the history, culture, and characteristics of Naxi costumes; in particular, the “seven-star” sheepskin cape, one of the Naxi people’s important ethnic costumes as demonstrated by the women’s clothing that has been designed in reflection of this traditional costume. The results are as follows. First, Naxi costumes are found to have overall coherence and distinct locality when retained in the process of modernizing the traditional costume. The theme of this work is titled “By the Light of the Moon and the Stars,” which is expressed in contemporary fashion by the use of grey and dark red against a background of black, a color preferred by the Naxi people. Second, the Naxi people’s seven-star sheepskin cape is a symbol of women’s clothing with its characteristic patterns, shapes, and colors, and it is subject to creative modernization while retaining its unique ethnic characteristics. Third, the work expresses the contemporary stylishness of the costume while maintaining the customary decorative accessories from the Naxi people’s traditional culture.

최근 패션업계에서 이슈가 되고 있는 Virtual Fashion 관련 서비스는 소비자들이 피팅 서비스를 사용함에 있 어 실제 상황과 상호작용하는 것처럼 의류의 재질감, 색상 그리고 사이즈를 실제적으로 경험해 볼 수 있게 하는 수단으로 활용되고 있다. 하지만 기존에 생산한 3D Object 데이터에 대한 접근성 및 재활용성이 낮은 단점을 가지고 있다. 또한 다양한 데이터 포맷을 사용하면서 생성되는 Texture의 용량과 출력되는 Animation 파일들의 크기가 커서 최종 결과물의 용량이 비대 해지는 단점도 있다. 본 논문에서는 기존 선행 연구된 시 스템을 Legacy Virtual Fashion System으로 정의하고 해당 시스템에서 사용하던 자원들을 효율적으로 재활용 하고 프로세스 단축 및 Texture과 Animation의 용량을 축소시키기 위하여 공통으로 사용할 수 있는 게임 엔 진 기반의 Virtual Fashion 프레임워크를 제안하고 구현했다. 게임엔진 기반의 Virtual Fashion 프레임워크를 이용하여 Virtual Show Room, 3D Runway 및 Virtual Fashion Sample을 제작하고 또한 해당 프레임워크의 성능 을 측정하기 위하여 실험을 구성했다. 구성된 실험으로 최대 50%의 용량 감소의 효과를 확인했다. 또한 본 연구의 결과물을 이용하여 다양한 형태의 출력물을 개발 확대 적용하는 것 기대해 본다.

This study started from the practical need for a career experience program in the fashion major that is creative and responds to current methodologies. The purpose of this study is to propose a fashion work experience program that combines digital technology and practical experience. The research methods and procedures were as follows: fashion items and wearable devices were selected, the LED smart bag program was developed, and it was executed. A total of 123 students participated in the program, and a satisfaction survey was conducted after observation and oral evaluation. All of the participants completed the LED smart bag processes of design ideation, material selection, production, and styling using an eco-bag (one of the fashion items and as an LED wearable device). As a result of the participants’ satisfaction (on a 5-point scale), most items showed a high level of satisfaction of 4.39 points or more. The smart bag program was evaluated to increase interest based on the time allotted and the students’ level and to bolster their understanding of, and interest in, the fashion major. Therefore, this study is expected to be baseline to explore diversification of the fashion major work experience program, in order to create interest in the fashion major based on creative convergence competency.

A growing number of fashion brands and retailers are actively adopting live streaming as a new marketing channel. In spite of the increasing use of live commerce, the effects of live streaming commerce on customer purchasing behavior for fashion products are not fully understood. The purpose of this study is to examine factors affecting consumers’ attitudes toward a purchase via fashion live streaming commerce (FLSC) and intention to use FLSC. The study also investigated whether consumers’ expenditure on fashion and time spent on mobile shopping moderate the relationships among research variables. A total of 230 questionnaires were analyzed through descriptive statistics, confirmatory factor analysis, and multiple-group comparison tests using SPSS and AMOS. A summary of the main results of this study is as follows. First, the perception of the attributes of FLSC (ease of use, economic efficiency, interactivity, and enjoyment) has a positive effect on attitude toward a purchase via FLSC. The ease of use and economic efficiency of FLSC, in particular, have greater impacts on attitudes than other factors. Secondly, attitudes toward FLSC positively impact the intention to use FLSC. Lastly, the results of group comparisons, by fashion expenditure and time spent on mobile shopping respectively, hold no significant moderation effects among the variables. These findings demonstrate that consumers are more likely to use FLSC as they form a positive attitude by the attributes of FLSC mentioned earlier. The study provides some insights on an exploration of live streaming commerce for fashion product sales.

Fashion companies and brands’ marketing activities focus on resolving environmental problems; however, these companies’ efforts, there are some examples of so-called “greenwashing”. This paper aims to analyze different perceptions of brand authenticity, green marketing, and purchase intention toward the brand before and after exposure to case information about greenwashing. A total of 211 data were gathered and analyzed using SPSS 25.0. Respondents were asked to respond to same questionnaires related to green marketing and the brand authenticity before and after their exposure to greenwashing information. The study participants’ perceptions of green marketing from the brand were statistically significantly negatively changed after exposure compared to before exposure. Similar patterns in results were found in the context of consumers’ perception of brand authenticity (genuineness, originality, and consistency), and purchase intention. The originality of this study is in evaluating consumers’ perception of greenwashing focused on brand authenticity. The findings of the study suggest that if a fashion brand’s green marketing activity is perceived as greenwashing by consumers, the perceptions of green marketing, brand authenticity, and purchase intention can all decline. It is suggested that fashion brands need to develop a sincere and truthful green marketing campaigns to keep and enhance their brand authenticity.

The purpose of this study is to analyze the collaboration and artification of the Issey Miyake fashion brand and to suggest the best course of artification that can secure the brand’s value. The research methods are as follows: i) identifying the companies’ strategy and flow through collaboration concepts and examples from Issey Miyake; ii) selecting Issey Miyake fashion brands and carrying out a literature review through websites, articles, and books; and iii) examining prior studies on the relationship between fashion and art. Results are as follows. The exhibition is divided into spaces for brand intangible assets, artistic collaboration with partners, art co-creation, and the aesthetics and tradition of the brand. Using exhibitions to share the artistic work of collaboration partners is expected to positively affect the brand’s likability. The exhibit shares art collaborations in display cases for clothes and photographs. Artists and brands appear as an extension of the creative space and convergence design area. The artist’s improvisation forms the creative space that communicates with the audience, and the convergence design area is expanded through the unifying organic connection between the various media in the fashion brand. The photographers and brands section displays the nature images of Pleats Please, as well as human and prism garment images. In these images, the viewer can perceive a story in the interplay between the human body and nature.

This study analyzed the effects of fashion creators’ innovativeness and attractiveness on consumer response and orientation toward a sustainable relationship in personal media. A survey was conducted with consumers aged in their 20s and 30s who had experience in sharing video content or writing comments and participating in fashion creators’ real-time broadcasting of personal media. The results show that the innovativeness of fashion creators was classified into originality, opinion leadership, variety, and adventurous spirit, while attractiveness was classified into physical, social, and professional attractiveness. Consumer responses were classified into either emotional or cognitive responses, and sustainable relationship orientation was classified into communication, sharing, and relationship sustainability. The originality and variety of the fashion creators positively affected the emotional and cognitive responses of consumers. Adventurous spirit positively affected emotional response, whereas opinion leadership positively affected cognitive response. In addition, the social and professional attractiveness of fashion creators positively affected consumers’ emotional and cognitive responses. Emotional and cognitive responses positively affected consumers’ sustainable relationship orientation. The originality and opinion leadership of the fashion creators positively affected the three factors of sustainable relationship orientation, while variety positively affected communication and relationship sustainability. Fashion creators' social and professional attractiveness positively affected the three factors of sustainable relationship orientation, and physical attractiveness positively affected relationship sustainability. The results of this study are expected to provide useful data on the direction of fashion startups using personal media and marketing as well as distribution strategies in the fashion industry.